Review

Little Shop of Horrors

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Reviewed by Matt Forrest

Opening Night verdict ⭐⭐⭐⭐

At the start of April the world witnessed the unusual phenomenon of a total solar eclipse. This rare occurrence plunged parts of North America into total darkness. It’s probably too early to tell if that event has led to any strange goings on: a martian invasion or even the introduction of a “strange and interesting plant” into the echo’s system. I mention the latter because this is the premise of one of the Octagon Theatre’s big spring shows, Little Shop of Horrors.

Set in 1950’s New York, we are transported to the dark side of the city, Skid Row, where we meet timid florist Seymour, (Oliver Mawdsley). Seymour works for the rather unpleasant Mr Mushnik (Andrew Whitehead), who blames his failing shop on the meek botanist. To add to Seymour’s worries, he is desperately in love with his friend and work colleague, Audrey (Laura Jane Matthewson). However, Audrey is blinded to his affection due to her turbulent relationship with the sadistic dentist Orin Scrivello, (Matthew Ganley).

However soon the fortunes of Mushnik’s soon change when Seymour discovers an unusual looking plant. Naming it Audrey II the strange flower soon becomes a media hit, bringing in more customers, more money as well as bringing Audrey and Seymour closer together. However, following an accident with a rose bush, Seymour soon learns that Audrey II has an appetite for something a little stronger than Miracle Grow. With Seymour running out of veins he looks at other means to feed the wanting weed, but the big question is, is it worth it for fame, fortune and him landing the girl of his dreams?

What absolute joy this production is: jam packed with great catchy tunes and a super talented cast, this is another triumph for the Octagon Theatre.

Oliver Mawdsley is in fine form as Seymour, showcasing great comic timing and a fine singing voice to boot. Laura Jane Matthewson is equally impressive as Audrey, with the pair’s stunning duet on Suddenly Seymour being just one of the production’s several highlights.

Matthew Ganley is suitably deranged and perfectly OTT as cruel Orin Scrivello DDS and very nearly steals the show, however the undoubted star is of course Audrey II, masterfully controlled by puppeteer Matthew Hewood, and superbly voiced Anton Stephans. His vocals on Feed Me (Get it) and Suppertime are sublime.

Musical director, Levi Van Warmelo has done a great job with the score, who along with drummer Migdalia Van Der Hoven and the supporting cast do a great job transitioning  between slow tempo tunes and funky upbeat numbers.

Throughout the performance Janna May, Zweyla Michell Dos Santos and Chardi Shaw showcase their talents as the do-wop trio Chiffon, Crystal and Ronnette, acting as our guides around Skid Row as the drama unfolds. Not only do these actors have tremendous voices, and a commanding stage presence, they are also talented musicians pitching in on guitar, bass, and keyboards.

All that said, the show isn’t without its flaws: I did find the closing sequences between Audrey, Audrey II and later Seymour and Audrey II looked awkward. In addition, the subject matter of domestic violence does make it unsuitable for younger audience members.

This is a highly entertaining, joyous night at the theatre, filled with black comedy, catchy toe-tapping tunes and plenty of bite!

Little Shop of Horrors is at the Octagon Theatre till May 18th tickets available here.

Vignettes 6

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Reviewed by Jodie Crawford

Opening Night ⭐⭐⭐⭐⭐

Vignettes returns to Hope Mill theatre with 6 exceptional pieces of theatre, which are short in minutes but packed with character, emotion and in parts good old Mancunian humour. These 6 pieces of stand alone theatre, are a celebration of the great talent that female identifying playwrights have to offer us in Manchester. The cast, production team, and direction live  up to the writing – each piece captivating in its own right. 

We begin Act 1 with Race for Life. Written by Christine Mackie, Directed by Joyce Brannagh. Our two main characters, Alice (Christine Mackie) and Stevie (Ellaney Hayden), have a chance encounter after taking part in their local Race for Life event. The two women have very different reasons for entering the event, but ultimately both women find something in the other that they were searching for. 

This piece is so beautifully and humorously written by the incredibly talented Mackie. The characters are so well connected and real. Often stories about women feature women who are downtrodden or who have achieved the unexpected. But this piece tells the story of two types of women that society don’t really talk about or identify with greatly. This story is about two women that people maybe don’t notice. There is a real vulnerability in both characters (not that they’d ever want you to see it). A well told story, with lots of heart and humour. 

Our second piece in Act 1 is a powerful piece written by Nasima Bee, and Directed by Nikki Mailer. Haiesha Mistry is a triumph in this piece. She just pulls you in from the minute she begins in her role of Ranad. She is mighty and strong. She fully encompasses this role and I was mesmerised by her from start to finish. Lamin Touray, as Ali, also works well on stage with Mistry. They together deliver a narrative about freedom, expression and the importance of having a voice. The written dialogue is compelling and is delivered with such energy. It is worth the ticket price alone to see this performance. 

The final piece of the first act is Interesting written by Alex Keenan and directed by Jess Gough. This piece is clever, well developed and insightful. It explores so many themes that are relevant with so many of us. The loss of a child in pregnancy, depression, marital difficulties and so much more. The character of Bo, the daughter of a counsellor, is played by the talented Eleanor Booth. Bo is angry and depressed, she is struggling to connect with her mother and in an act of childish retaliation towards her she impersonates her mother in an online counselling session. The couple attending the session, played by Stacey Harcourt and Barney Thompson, are experiencing so many emotions relating to the loss of a child in pregnancy at 5 months. The husband Max just can’t communicate how he is feeling and the wife Laura is desperate to talk about their loss. Bo’s prank doesn’t go to plan and exposes so many complex feelings and emotions for all three characters. A wonderfully written and acted piece that gives us insight into the difficulties experienced in grief and mental well being. 

Act 2 begins with Anatomy of Desire written by Obesi Osi-Lyere and directed by Justina Alna. This piece introduces us to HER played by the brilliant Ntombizodwa Ndlovu. HER is easy to identify with, HER is desperate to be successful, loved and respected, but things aren’t smooth sailing. HER takes us on a journey through time and events that are at times quite confronting. At times the chronology is hard to follow, but the acting is powerful and the main themes are present. I think we can all identify with the hopes and dreams of HER in this highly emotive piece of theatre. 

The second piece of Act 2 is one of the highlights of this entire production: Birds Don’t Run. They Fly. This beautifully crafted script is written by Lauren-Nicole Moyes and directed by Laura Woodward. Here we meet Ashleigh (Laurie Ogden) and Helena (Kate James), two women with a connection from school, reunited at a Blackpool Park Run. This piece starts with so much humour and banter, that when we begin to peel away the layers of these women’s armour we are aghast to the hidden reality they are in. 

I found this piece moving, confronting and heartbreaking. It is so cleverly constructed by Lauren-Nicole Moyes- the use of the bird analogies throughout is inspired. Both actors deliver exceptional performances, but Ogden was truly breathtaking in her portrayal of Ashleigh: this piece will stay with me for a long time. 

And the final play is Maharani of Manchester. Written by Anshan d’souza-lodhi and directed by Gituka Buttoo. Described in the programme as  “If the Godfather was a South Asian woman with morals.” This play takes place in the wilds of Rochdale. Here we meet Maharani (Ifeoma Uzo) who is determined to take Joshua (Raphael Santiago) out into the wild to see whether he is good enough for her daughter. Joining them on the expedition is Princess (Riah Amelle) who isn’t completely unbiased! This play is fun, simple and shows us that the truth is often the best place to start. 

Vignettes 6 is an incredible evening of a diverse selection of plays. Each wonderful in its own right. It is a feast of entertainment with something for everyone. So many characters delivered by an incredibly talented group of actors. An absolute celebration of 6 playwrights, telling six very different stories. How lucky we are to have this wonderful selection of theatre here in Manchester, all on one stage together. 

Vingettes is on at Manchester’s Hope Mill Theatre until 24th April tickets available here.

Cluedo 2

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Reviewed by Matt Forrest

Opening Night verdict ⭐⭐⭐

Following the huge success of Cluedo (stage play), writers Maurice Gran and Laurence Marks have followed it up with the rather aptly named Cluedo 2, which hopefully will contain more mayhem, more murders, as well as some laughs.

This time around the action takes place in the ‘Swinging Sixties’, at the country estate of fading rockstar, Rick Black (Liam Horrigan), as he is about to offer an exclusive first airing of his latest album. In attendance are Black’s shady American manager Colonel Mustard (Jason Durr), Black’s wife, the scheming socialite Mrs Peacock (Hannah Boyce) and Black’s friend and tech expert, Professor Plumb (Edward Howells).

In addition, there is the seemingly ever-present housekeeper, Mrs White (Dawn Buckland) and interior designer, Miss Scarlett, (Ellie Leach), who has been brought in to give the crumbling manor house a bit of a makeover. Later they are joined by Wadsworth (Jack Bennett), a jobbing actor typecast as a butler, and finally the Reverend Green (Gabriel Paul), a friend and musical collaborator of Rick Black.

As more guests arrive, the body count increases, and soon everybody becomes a suspect. Everyone has a motive, and everyone has the means, but will they all survive long enough to catch the killer?

Cluedo 2, is very much a mixed bag, it does a great job of introducing all the familiar tropes associated with the boardgame: each of the characters are given a fresh take, subverting expectation, but still present are the classic murder weapons and rooms within the manor house.

Writers Gran and Mark’s script is fun throughout but doesn’t always deliver the big laughs that it needs. There are no wasted lines, and every bit of dialogue could be a clue, so be sure to pay attention! I expected more bite from the team behind one of my favourite sitcoms, The New Statesman. Director Mark Bell, arguably best known for directing The Play That Goes Wrong has tried to incorporate what worked so well on the Mischief Theatre smash hit into Cluedo 2, with again, mixed results: there are elements of farce, quick gags, and physical comedy which work well, you just wish there was more of it.

What this production does have is several strong performances. Dawn Buckland steals nearly every scene as the no nonsense Mrs White, she has the lion’s share of the best lines, and she delivers them with exceptional comic timing. Equally impressive is Jack Bennett as the former butler-turned actor, now playing a butler, Wadsworth. It’s a great comedic turn full of energy, which demands your attention throughout.

There are strong performances from Liam Horrigan as Rick Black as well as several other characters (no spoilers) who fully invest into the silliness you expect from the show. Hannah Boyce is in fine form as the mean, selfish Mrs Peacock.

The big draws for the productions are former Heartbeat star Jason Durr, who goes OTT as the big Texas music manager Colonel Mustard; it’s a performance as absurd as it is enjoyable. Whilst former Coronation Street and 2023 Strictly Come Dancing winner, Ellie Leach makes a fine stage debut as Miss Scarlett.

Whilst never hitting the big laughs, there are enough gags and comedic set-pieces to keep you entertained for the two-hour running time, and despite a slow start, the pace quickens as soon as the body count rises, leading to a suitably absurd and thoroughly satisfying conclusion.

Cluedo 2 is at the Lowry till 6th April. Tickets available here.

Peter Pan Goes Wrong

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Reviewed by Gill & Freddie Selkirk

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Mischief Theatre Company are the hilarious gift that keeps on giving, from their original offering, The Play That Goes Wrong to this current UK Tour of Peter Pan Goes Wrong it seems everything they touch turns to comedy gold.

Like the multi award-winning Play That Goes Wrong, Peter Pan Goes Wrong focusses on the Cornely Drama Society and their valiant attempt to deliver J.M. Barrie’s classic, Peter Pan, which of course gets a chaotic and calamitous Mischief Theatre makeover.

This play within a play introduces us to our cast who quite literally live and almost die by the mantra ‘the show must go on!’. With ambition that far outweighs their actual talents the scene is set for two hours of malfunctioning sets, lack of ability, faulty electrics and some painfully close near-misses as our players go about delivering their lines to hilarious effect. There are clashing egos, intense insecurities as well as unwanted affections within the company, all of which add to the glorious chaos of the piece.

Gareth Tempest portrays Jonathan who is our self-obsessed, narcissistic Peter Pan. With an eye for the ladies and an inability to fly in a straight line he continually plunges the show into absolute chaos. Wendy (a very keen to please Sandra) is played brilliantly by Ciara Morris, her enthusiasm paired with her exuberant arm waving never tire. Jack Michael Stacy, as Chris the director (who also plays Captain Hook and Mr Darling) displays a brilliant lack of self-awareness. His continued instance on treating the play as a serious piece and increased disappointment with both his fellow cast members and the audience who clearly don’t agree is genius.

Matthew Howell is superb as Robert (co-director/Nana the Dog, Peter’s shadow) with an ego bigger than Neverland he has the audience in the palm of his hand while Theo Toksvig-Stewart as Max, (playing Michael Darling/mermaid/the crocodile), has a soft-spot for Sandra and is only in the show because his uncle is financing it.

Dennis (Clark Devlin) offers some real comedy moments as he’s fed his lines through a very unreliable headset while Jamie Birkett as Annie (playing Mrs Darling, Lisa, and a superbly funny Tinkerbell) has more consume changes than a pantomime dame. Jean-Luke Worral as the narrator though blighted with technical issues, still adds a touch of sparkle every time he appears, pertified actor Lucy (Rosemarie Akwafo) has trouble finding her voice while Jake Burgum tries to keep it all together as stage manager Trevor, resulting in almost as much unforgettable stage time as the stars of the show themselves.

This really is a comic masterpiece; it’s fast pace never wanes while the gags and physical humour come thick and fast. It’s slapstick central and the audience lap it up, you’re just about recovering from one laugh when the next quickly and hilariously presents itself. Every cast member gets their moment to shine thanks to the witty writing and brilliant direction. High praise must also go to Simon Scullion’s impressive set design, its adaptability and revolve adding superbly to the carefully choreographed chaos.

Mischief Theatre have once again produced a comedy classic, which will appeal to all ages and leave you belly laughing long after the curtain call. My almost 11 year old, Freddie said it was the best thing he’s ever seen at the theatre, “I laughed from the very start to the very end, it’s ridiculously funny.”

Peter Pan Goes Wrong is on at Manchester’s Opera House until Sunday 31st March tickets are available here.

Work It Out

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐

Many of us have been there, stood in a random community centre or school hall early evening, trainers on, ancient leggings dug out of a long-forgotten drawer as we await the arrival of the class instructor and just hope they’re not quite as bouncy as we’ve imagined. 

It’s the perfect material for a piece of theatre, from the characters we meet to the problems and predicaments they find themselves in. It’s something we can relate to, empathise with, and laugh along with as we reflect on our own brushes with ‘fitness’. Writer Eve Steele (who also stars in the production as Siobhan) has taken this basic premise a step further with the exercise class being one specifically for people who have been referred due to the mental health challenges they face.

This distinct group of characters go on a unique and engaging journey, from beginning as strangers who struggle to be in the same room together to becoming their own unique and fiercely proud community. Each has their own story and moment to shine as the weeks pass by and the heart of each character is carefully revealed. From alcoholism to hoarding, sexual abuse to overeating the issues they’ve face are many, however together they find a sense of belonging and a genuine sense of purpose without this production ever feeling cliche.

Writer Eve Steele and Director Sarah Frankcom have lovingly worked with these characters to ensure they are relatable, believable and touch the hearts of the audience in ways we don’t see coming. The subtleties of their journeys collectively make for a powerful, emotive piece of theatre packed with heaps of heart and humour.

There’s Rebecca (Raffie Julien), who is deaf and refuses to speak who brings along her Grandma Marie (Eithne Browne), Rebecca gradually finds freedom and confidence as the weeks progress while Marie evolves from angry and anxiety ridden to loving, caring and contemplative. Shaq, portrayed sensitively by Dominic Coffey is a care-leaver who is struggling to survive in a wholly unsuitable home environment. His moving dance solo to a jazz version of Radiohead’s Creep is a real highlight of the show.

Eva Scott’s portrayal of Colette a shy, sensitive soul who struggles with body image is deeply moving, seeing her find her place and purpose within the group as they bid to secure funding feels like a monumental triumph. Aaron McCusker’s journey as Rob is perhaps one of the most profound, his transformation is poignantly realised in the final touching scenes as Siobhan (Eve Steele) with whom Rob has become close takes a step back from the group while her personal progress stalls. Class leader Alice (Elizabeth Twells) who seems so composed and complete at the start goes on her very own unique journey of vulnerability where she too realises, she needs the strength of the group to get her through.

The powerful final scenes illustrate both the positive change community and inclusion can bring while exposing the stark reality of the damage done to a society failed by ineffective Governments and underfunded services. The focus on individual stories brings a real sense of hope to this piece as the characters unify becoming closer and tighter as the weeks go by.

Work It Out is on at HOME until Saturday 16th March https://homemcr.org/theatre/

Pretty Woman

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️

Following successful runs on Broadway and in London’s West End, Pretty Woman arrives in Manchester this week as part of its first ever UK tour.

The musical stays faithful to the iconic 1990 movie starring Julia Roberts and Richard Gere, much to the delight of the audience who clearly revel in the nostalgia of the familiar.

For those unfamiliar (and I can’t imagine there are many) this is a classic Cinderella story with a twist, the twist being our ‘Cinderalla’, Vivian, is a sassy sex worker on the Hollywood Boulevard and our Prince Charming, Edward, is a money motivated entrepreneur, neither are looking for love but can just about cope with a week of no strings company.

Taking on the role of Vivian Ward at tonight’s performance Paige Fenlon captures the essence of the character so iconically created by Julia Roberts brilliantly. She draws the audience in, getting them on side immediately with her warmth and wit. Her confident delivery of ‘I Can’t Go Back’ is a real highlight while her characterisation guarantees we all fall completely in love with her Vivian.

Ben Darcy makes for a wonderful Edward, ensuring the audience soon warm to him once his walls begin to come down. His vocals really shine while he makes Edward’s journey convincing and thoroughly enjoyable. The two have great on stage chemistry ensuring we’re really rooting for their happy ever after.

Previous Strictly champion Ore Oduba is a huge asset to this production as (Happy Man/Mr Thompson). A versatile performer with heaps of charisma he is a real joy to watch. Popping up when you least expect him to, each scene he delivers with a confident ease, endearing him wonderfully to this engaged audience. His pairing with Noah Harrison as bell-boy Giulio, is inspired. The talented pair really elevate this production, each scene more brilliant than the last, I wouldn’t say no to a Mr Thompson and Giulio spin-off, they are superb!

Special mention must also go to Natalie Paris who blows us away with her stunning vocals as Vivienne’s best friend, Kit De Luca. She really is a world class talent and adds to this production enormously.

Director and choreographer Jerry Mitchell ensures this faithful retelling gives fans of the film everything they’d hope for in musical form. The iconic lines are there as are the classic scenes we all know and love. The opera scene particularly is stunning with Lila Falce-Bass and Josh Damer-Jennings delivering pitch perfect performances.

Pretty Woman ticks all the boxes for a perfect night of theatre escapism. It doesn’t take itself too seriously and delivers a super fun show as a result. It will entertain, charm and uplift you, make no mistake!

Pretty Woman The Musical is on at Manchester’s Palace Theatre until Saturday 16th March, tickets available here.

The Time Machine

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Reviewed by Dan & Jacob Grimes

Opening Night verdict ⭐️⭐️⭐️⭐️

Direct from its London festive run at Park Theatre, Original Theatre’s hit comedy The Time Machine comes to Salford to help deliver some post-Christmas cheer to audiences.

Based (very loosely) on H.G. Wells original novel by the same name the play reads like a love letter to the genre with elements from every well-known time travel tale of the last century and a quarter cleverly woven into the piece. From Groundhog Day to Back To The Future via Quantum Leap the writers Steve Canny and John Nicholson are clearly superfans of this reference material. However, despite familiar anchor points throughout, the whole thing, when put together, was constantly surprising. Without giving too much away (which I’m not sure I could, even if I wanted to) you spend most of act one feeling like you have seen this before, with elements of high farce like in The Play That Goes Wrong or gentle parody like in The 39 Steps. Yet, you enter the interval wrong-footed and act two pinballs you through a trippy fever-dream, which comes across as a combination of a Royal Society Christmas Lecture and a Monty Python sketch.

Apart from being very funny, the play is also quintessentially British and taps into that madcap, nerdy, eccentricity that we wear like a cosy cardigan, replete with leather arm patches.

The staging was simple but effective, with heavy reliance on an intricate array of props which the actors dealt with skilfully. The costumes had a cobbled-together quality, with period jackets and bustles worn over jogging bottoms and trainers, which worked perfectly for the bargain basement vibe that I’m sure the director Orla O’Loughlin and the design team were aiming for.

Light and sound had a similarly lo-fi feel but were expertly cued in sync with the comedy. The whole thing, in fact, was harmoniously well-executed and just like Acorn Antiques or Les Dawson’s piano playing you were left admiring the skill required, from performers and creatives alike, to give something the illusion of shoddiness when it was impeccably tight.

The stand-out aspect of the production, by far, was the three talented performers. This was a true ensemble piece with George (George Kemp) portraying the instantly recognisable, public-school poseur, Amy (Amy Revelle), the highly-strung rep actor with irritatingly lefty sensibilities, and Michael (Michael Dylan), the comedic stooge, acting as the butt of the joke. Whilst each of the characters fit cosily into a recognisable stereotype, the actors had an earnestness to their delivery which only added to the comedy – especially as the bizarreness crescendos. 

The supporting cast was played by the audience and be prepared, the fourth wall is well and truly knocked through. On this point, and this is primarily a personal preference issue, whilst some of the audience participants absolutely added to the delightfully bonkers feel by virtue of their pleasantly baffled demeanour, others (usually those a little TOO willing to volunteer) became a little grating. This always feels like the dice-roll when audience participation is encouraged and, credit to the performers, they did a grand job of weeding out the more insistent elements.

Overall, this was an incredibly enjoyable and unique theatre experience and if you are looking for a night of mind-bending quantum physics offset by some great gags, all-round silliness and reflections on existentialism then look no further.

Steven Canny and John Nicholson’s The Time Machine – A Comedy, runs at The Lowry, Salford, from Tuesday 23rd to Saturday 27th January 2024 tickets available here.

Anna X

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Reviewed by Michelle Ewen

Opening Night verdict ⭐️⭐️⭐️⭐️

A cautionary tale for the digital age, Anna X opens with the chance meeting of an art world protégé and a tech start-up entrepreneur on their first night in New York. They are both chasing celebrity, money and power but, for one of them, success will depend on fooling the other. Wrapped up in their own fakery, the question is: Which carefully spun ‘avatar’ – fuelled by social media – will unravel first? 

This ambitious production brings together the powerhouse pairing of Golden Globe award winner Emma Corrin (Netflix’s The Crown) in the titular role of Anna X and the Royal Television Society’s 2019 Breakthrough star Nabhaan Rizwan (Informer, BBC), who is Ariel – founder of @GenesisApp. 

Between them, Corrin and Rizwan also play a cast of colourful supporting characters. Ranging from Anna’s sleazy magazine editor boss to Ariel’s key investor and former lover, they slip into each new role with a swift accent change.

It is a tall order to carry the entire production, delivering Joseph Charlton’s (Brilliant Jerks, VAULT Festival) sparkling dialogue without a beat, but this dynamic duo is more than up to the challenge – injecting their delivery with a lightness and deftness of touch that is a joy to behold.

On paper, both main characters should be contemptible. One is a fake oil heiress who is hellbent on fooling the New York art world. The other has created ‘Illuminati Tinder’ – an exclusive matching service where only the elite class get to date and have sex. Yet somehow, Corrin and Rizwan manage to make these pair of rogues likeable. Statuesque and commanding, Corrin imbues her Anna X with a beguiling sense of adventure, whereas Rizwan’s Ariel is a naïve dreamer who is only too willing to follow her lead. 

The laughs and comedic undertones are genuine, plus Charlton’s pointed commentary on everything from Instagram ‘likes’ to modern art serves to remind us that in today’s world, values and morality are increasingly subjective. (As Anna herself says: “If you lie in America and it gets you what you want, you’re an entrepreneur, not a criminal.”)

Whilst this play has some serious storytelling ‘chops’ – having been inspired in part by the exploits of real-life New York socialite Anna Sorokin – it is the set and video by Mikaela Liakata and Tal Yarden, and Jessica Hung Han Yun’s kinetic lighting that earns this reviewer’s plaudits. 

An ever-changing video screen serves as a shape-shifting backdrop – morphing from New York’s skyline to San Francisco’s Golden Gate Bridge, with pulsating nightclubs and dingy smoking stoops in between. The technology is used at its inventive best to depict rapid-fire WhatsApp messages or subtitled dialogue yelled over throbbing music and slicing strobe lights.

Simple cubes create levels on the otherwise sparse stage, which Corrin and Rizwan reimagine as balconies, hotel beds and office desks – all under Daniel Raggett’s playful direction.

It all adds up to an artful deception and, as Anna X says: “The world wants to be deceived… Give them what they want.”

Coming to the North by way of Sonia Friedman Productions’ RE:EMERGE season at the West End, Anna X is playing at The Lowry until Saturday, 14 August. Further information can be found here.

Legally Blonde

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Opening Night verdict ⭐️⭐️⭐️⭐️

Reviewed by Nikki Cotter

High energy, fizzing with fabulousness and full of heart Legally Blonde bursts onto the Palace theatre stage this week for the final stop of the current UK tour.

Based on the 2001 film starring Reece Witherspoon which later became an award winning Broadway musical, Legally Blonde continues to be a massive crowd pleaser with every audience member up on their feet by the end of the show.

Dumped by law student boyfriend Warner for not being a serious enough girlfriend, Elle decides to take matters into her own hands and sets about gaining a place of her own at Harvard Law School in a bid to prove she is the perfect accessory.

The tongue-in-cheek innocence of the story ensure this camp, bright and fluffy production raises smile after smile while never taking itself too seriously.

Lucie Jones bursts with personality as the Malibu marvel, with great comedic timing and a voice that packs a punch her goofy but smart Elle proves her status as a musical theatre star is secured.

Rita Simons excels as Paulette, fun and feisty she ensures the loveable hairdresser gets her moment of glory with snake-hipped UPS guy Kyle, played superbly by Ben Harlow.

Special mention must also go to Laura Harrison as Vivienne and Helen Petrovna as Brooke Wyndham, both shine in their respective roles, with Petrovna’s skills with a skipping rope during Whipped Into Shape simply mind-boggling!

Director and choreographer Anthony Williams ensures this is a production bursting with energy, enthusiasm and most of all fun. There! Right There! Being a real highlight of Act II and further cementing Legally Blonde as a kitsch, camp couple of hours of perfectly pink uplifting escapism.

With a winning energy this pink princess succeeds against the odds to find her own perfect prince and sends a reminder about the importance of sisterhood that is more than just skin-deep.

On at the Palace theatre until Saturday 30th June tickets available here.

Blood Brothers

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Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Running at Manchester’s Palace Theatre for the next two weeks, Blood Brother’s remains as deeply moving and powerfully relevant as ever.

Willy Russell’s award-winning epic tale tells the tragic story of twin boys separated at birth only to be reunited by a twist of fate, a mother haunted by a dark secret and the heart-breaking reality of social depression. As they boys grow up on opposite side of the track the draw the timeless themes of inequality, social class and mental health struggles remain sadly as relevant today as the day it was written. Despite the though subject matter, Blood Brothers is by far one of the wittiest scripts of any musical with laugh out loud moments perfectly measured against the heartache.

Taking on the lead role is Lyn Paul, who first stepped into Mrs Johnstone’s shoes back in 1997 when she made her musical theatre debut in the West End production. She makes for a compelling and impressive Mrs Johnstone, with a depth of emotion that tugs on your heart strings, making you feel every ounce of her heartfelt pain.

Matthew Craig is exceptional as the ever-present and ominous narrator, a dark and menacing reminder of the shady deeds of the mother’s pact; he has a strong and foreboding presence on stage. With just the right amount of Scouse rasp his harmonies with Lyn Paul are simply beautiful.

Veterans of their respective roles as ill-fated twins Mickey and Eddie, Sean Jones and Mark Hutchinson captivate the audience with performances that will have you howling with laughter one moment and reaching for the tissues the next. Sean Jones gives a masterclass in character acting, lighting up the stay as care-free young Mickey making the journey he goes on, to broken and defeated young man in Act II all the more devastating.

The ensemble cast are impressively strong, delivering Willy Russell’s witty script with fresh energy as they take on multiple roles with gusto. Special mention must go to Sarah Jane Buckley, Danielle Corlass and Daniel Taylor who each shine as Mrs Lyons, Linda and Sammy respectively.

Blood Brothers has the ability to take you on a roller coaster of emotion from joyful highs to heart aching lows. The tear filled finale one of the most moving fifteen minutes of any musical, repeatedly followed night after night by a full standing ovation, a testament to the enduring appeal of this powerful production.

It is a story that will stay with you long after the final curtain, a timeless classic which no doubts cements Will Russell as one of Britain’s best loved and most talented storytellers. It is a show that appeals to all ages from eager school groups to audiences returning for the second, third, fourth visit and more, each and every audience member stunned into silence. The phrase ‘must-see’ is often banded about but in the case of Blood Brothers it is entirely true, a powerful, captivating and entirely moving production.

On at the Palace Theatre until Saturday 26th May rickets available here.

Hedda Gabler

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Following on from a much celebrated sold-out run at the National Theatre earlier this year this new version of Ibsen’s iconic Hedda Gabler arrives at the Lowry until Saturday 4th November.

Reimagined by Olivier and Tony Award-winner Patrick Marber and directed by Ivo van Hove, also an Olivier and Tony award-winner, the production is modernised and accessible yet still stays true to Ibsen’s original work.

Newlywed Hedda (Lizzy Watts) is bored, admitting she ‘settled’ because she felt old, the absolute last thing she actually feels by this marriage and her life however is settled. She’s retuned to a place that suffocating and soulless, a new home where nothing yet has it’s place, certainly not Hedda.

Overcome constantly by the desire to control and take charge of everyone and everything around her Hedda thrives on the destruction of harmony. Constantly battling the demons within, Hedda’s release seems to come from hurting, upsetting and even destroying others. She can be cruel yet is clearly damaged, sharp yet desperately vulnerable, wild yet ultimately trapped.


Hedda wants to be free, she wants the freedom she sees men have yet everyone wants a piece of her, they want to touch her, to be with her, to dictate what she does with her body, to claim ownership. Marber’s focus on Hedda’s relationships offers a real depth to this piece as an audience we try to understand and even sympathise with the damaged, manipulative and often cruel Hedda. She tempts the alcoholic to drink, twists concern for mistrust and family love for suffocating meddling.

Lizzy Watts portrays Hedda beautifully, she shines in the cleverly reimagined production, she is feisty yet vulnerable, struggling with demons which consume her entirely, she is cruel yet clever captivating the audience entirely as she physically embodies the torment and complexity of Hedda, she looks uncomfortable in her own skin as the world weighs down all around her and her inner turmoil threatens to consume. Supported by an incredibly strong cast this is a truly impressive performance.

National Theatre continue to raise the bar high with this bold, atmospheric and entirely engaging production. Jan Versweyveld’s set and lighting design are both superb, the apartment is a sparsely furnished box, which we never leave, almost becoming asylum like as the piece develops and further illustration of Hedda’s confinement and absolute boredom with life where even the timid Thea has the courage to follow her heart. Joni Mitchell’s “Blue” plays between scenes, a further gentle nod to Hedda’s dissatisfaction with her lot.


National Theatre entirely succeed in making a play familiar to so many feel entirely fresh and unpredictable. Powerful, intense and utterly captivating.

On at The Lowry until Saturday 4th November tickets available here www.thelowry.com/events/hedda-gabler

42nd Street

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The tingles begin moment the orchestra strike up, as the infectious joy of this dazzling production floods through the audience. The curtain raises just enough for us to see the origin of the thunderous sound as masses of hoofers tap their way through one almighty audition piece. This show within a show straight from the off lets us know we’re here for a good time so prepare for some magnificent razzle dazzle!

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The storyline is simple, budding Broadway star and provincial New Jersey girl Peggy Sawyer, has arrived to make it and make it big, timed perfectly as respected Director Julian Marsh is going all out with a new production, Pretty Lady, right in the middle of the Great Depression. Forced to cast Dorothy Brock, a difficult diva who conveniently is backed by her rather affluent Sugar Daddy, Marsh sets about bringing the glamour back to Broadway. Our zero to hero story really gets the chance to take flight once Brock manages to break her ankle just before opening night and our wannabe leading lady Peggy is waiting in the wings, now what are the chances of that!

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This production embraces fun and extravagance, Mark Bramble, who co-wrote the book for original 1980 Broadway show directs this London revival and gives a firm nod to the 1933 smash hit film delivering all the glitz and glamour you could wish for. Clare Halse gives an outstanding performance as Peggy Sawyer, she is mesmerising, her dancing extraordinary. Instantly likeable (although not to her fellow chorus girls) Halse has great charisma and wonderful comic timing, but it’s her spellbinding moves that really make this a knockout performance.

Sheena Easton delivers diva with sass, her vocals are strong particularly beautiful during her performance of Boulevard of Broken Dreams which was added to the show to specifically showcase Easton’s talents.

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The hugely epic ensemble tap routines choreographed by Gower Champion and Randy Skinner are what really make this production fly, with sumptuous costumes and clever set design from Roger Kirk and Douglas W. Schmidt, 42nd Street is a visual delight. The cast literally drip in bling and sequins with all colours of the rainbow on shimmering display. With mesmerising show stoppers such as Lullaby of Broadway, We’re In the Money and Keep Young and Beautiful 42nd Street whacks you in the face with big hitters and some serious wow moments. Tom Lister’s commanding performance as Julian Marsh is convincing, his voice perfectly suits the score. Stuart Neal gives a great performance as Billy Lawlor, versatile and oh so talented. Special mention must also go to Jasna Ivir as Maggie Jones and Christopher Howell as Bert Barry.

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42nd Street offers a couple of hours of pure escapism fun, it is uplifting, vibrant and full of joy, I literally smiled all the way home, whilst slightly berating myself for quitting those tap lessons aged 10. 42nd Street has got it all, dazzling costumes, stunning sets and knock out performances from a seriously talented cast, if this show was offered on prescription there would be a queue from here to Broadway!

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Tickets available via – http://www.42ndstreetmusical.co.uk

THEATRE ROYAL DRURY LANE, CATHERINE STREET, LONDON, WC2B 5JF